My dissertation analyzes the way in which Latin American novelists use the Faustian tradition to symbolize the inclusion of marginal groups into mainstream cultures. The establishment of a national culture that holds citizens together depends on its ability to subsume different cultural sources and to assign to each one of them a space within the nation. This stratification of culture is the result of the negotiation of authority within hegemonic groups. In my dissertation I trace the negotiation of authority in the aesthetic choices that authors make when it comes to compose a new rendition of the myth of Faust. The study of works produced between 1956 and 1967 allows me to focus on the height of the internationalization of Latin American literature. The works that constitute the main corpus of my study are: João Guimarães Rosa's Grande Sertão: Veredas (1956) from Brazil, Miguel Ángel Asturias's Mulata de tal (1963) from Guatemala, and José Donoso's El lugar sin límites (1957) from Chile. As a way to trace the issues at stake in these works back to the nineteenth century, I also include a chapter on the Argentine poem entitled Fausto (1867), composed by Estanislao del Campo. This enables me to present early stages of the Faustian tradition in Latin America, and how it relates to the conflict between city and rural regions. My dissertation not only interprets Latin American texts within their context, but also explores the way in which lettered urban groups integrate an international tradition in the evaluation of these contexts. My dissertation presents the way in which authors from this part of the world intervene in well-established Western literary traditions and not only read their reality from this stand point, but their realities modify the reach of traditions such as that of the man who sells his soul to devil.

Univ., Diss.--Freiburg (Breisgau), 2005.

No description available.

Zugl.: Madrid, Univ. Complutense, Diss., 2006

Zugl.: Madrid, Universidad Complutense, Diss., 2006.

A presente dissertação toma como propósito compreender de que forma a ideia do peso do conhecimento é apresentada no Fausto de Fernando Pessoa. A expressão peso do conhecimento, cunhada pelo filósofo Stanley Cavell, surge como forma de apresentação da tragédia na modernidade. O Fausto de Fernando Pessoa, mediante a sua queda na mente, relata, no encontro com a Morte, a figuração máxima de todo e qualquer conhecimento; a afetação trágica que o consome. Esse trabalho, portanto, inaugura a perspectiva que visa explorar, como forma de compreensão da obra pessoana, a ideia de que a tragédia moderna é o peso do conhecimento. E, ao mesmo tempo, sustenta a hipótese de que o peso do conhecimento pressupõe o reconhecimento de que toda vida do conhecedor termina num tipo de tragédia shakespeariana. Assim, a obra de Fernando Pessoa se apropria de uma longa tradição que se inicia com Hamlet e, com ela, delineia, a partir do problema do peso do conhecimento, a teatralidade da escrita dos versos de Fausto, cuja apresentação do dilema entre a Vida e o Conhecimento pressupõe a cena imediata de uma figura, Fausto (ou Hamlet / The present thesis proposes to comprehend how the idea of burden of knowledge is presented in Fernando Pessoas Faust. The expression burden of knowledge by philosopher Stanley Cavell arises as a way of presenting tragedy in modernity. Fernando Pessoas Faust, due to the fall inside his mind, narrates, during his encounter with death, the most emblematic figure of all possible knowledge, a tragic affectation that has consumed him. The present work, therefore, launches the perspective that aims to explore, as a mean of understanding Pessoas literary work, the idea that modern tragedy is the burden of knowledge. Also, at the same time, it sustains the hypothesis that the burden of knowledge presumes the recognition that the knowers life ends up in some sort of Shakespeares tragedy. Thus, Fernando Pessoas work borrows a long tradition that has begun with Hamlet and with it, based on the question of the burden of knowledge, he outlines the theatricality found in Fausts verses, which presentation of the dilemma between Life and Knowledge presumes the immediate scene of a figure, Faust (or Hamlet)

This thesis is under the name of Johan Wolfgang Goethe, Faust and has a theoretical and practical form, whereas is divided into three parts. The theoretical part deals mainly about Faust analysis, Johann Wolfgang Goethe´s work, further author´s life and personality are summarized in general level. The practical part is dedicated to the book design and illustrations for this work. The third didactic part creates on the basis of findings from the theoretical and practical part base for lesson of art education in the framework of the educational expertise.

A presente dissertação toma como propósito compreender de que forma a ideia do peso do conhecimento é apresentada no Fausto de Fernando Pessoa. A expressão peso do conhecimento, cunhada pelo filósofo Stanley Cavell, surge como forma de apresentação da tragédia na modernidade. O Fausto de Fernando Pessoa, mediante a sua queda na mente, relata, no encontro com a Morte, a figuração máxima de todo e qualquer conhecimento; a afetação trágica que o consome. Esse trabalho, portanto, inaugura a perspectiva que visa explorar, como forma de compreensão da obra pessoana, a ideia de que a tragédia moderna é o peso do conhecimento. E, ao mesmo tempo, sustenta a hipótese de que o peso do conhecimento pressupõe o reconhecimento de que toda vida do conhecedor termina num tipo de tragédia shakespeariana. Assim, a obra de Fernando Pessoa se apropria de uma longa tradição que se inicia com Hamlet e, com ela, delineia, a partir do problema do peso do conhecimento, a teatralidade da escrita dos versos de Fausto, cuja apresentação do dilema entre a Vida e o Conhecimento pressupõe a cena imediata de uma figura, Fausto (ou Hamlet / The present thesis proposes to comprehend how the idea of burden of knowledge is presented in Fernando Pessoas Faust. The expression burden of knowledge by philosopher Stanley Cavell arises as a way of presenting tragedy in modernity. Fernando Pessoas Faust, due to the fall inside his mind, narrates, during his encounter with death, the most emblematic figure of all possible knowledge, a tragic affectation that has consumed him. The present work, therefore, launches the perspective that aims to explore, as a mean of understanding Pessoas literary work, the idea that modern tragedy is the burden of knowledge. Also, at the same time, it sustains the hypothesis that the burden of knowledge presumes the recognition that the knowers life ends up in some sort of Shakespeares tragedy. Thus, Fernando Pessoas work borrows a long tradition that has begun with Hamlet and with it, based on the question of the burden of knowledge, he outlines the theatricality found in Fausts verses, which presentation of the dilemma between Life and Knowledge presumes the immediate scene of a figure, Faust (or Hamlet)

abstract: Charles-Valentin Alkan’s Grande Sonate Op. 33 ‘Les quatre âges’ is a unique four-movement work for piano solo that programmatically represents a man’s life through four decades, passing from age 20 to 50, with each movement being progressively slower than the previous. Published in 1847, it was destined for obscurity until it was rediscovered and premiered in 1973 by English pianist Ronald Smith. Its absence from the public’s reach can be attributed to multiple reasons including the reclusive nature of the composer during the time of composition and the societal issues surrounding the French Revolution of 1848. Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate. The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Tradicionalmente, teóricos dos estudos literários têm dado pouco enfoque aos textos orais por acreditarem na escritura como única fonte teorizadora dos textos artísticos desmerecendo, assim, o valor histórico e o caráter próprio da literatura oral. O mesmo ocorre com a literatura voltada para o público infantojuvenil, que, apesar de ter conquistado o mercado editorial, ainda encontra dificuldades em entrar para o rol dos livros aceitos pelo cânone literário. Por meio de adaptações e traduções, tem-se oportunizado a aproximação dos jovens leitores das obras clássicas, cujas linguagens e distância cronológica e social configuram fator de impedimento de sua leitura. O que se pretendeu neste trabalho foi discutir como se deu a passagem da literatura popular/oral para a literatura canônica, tendo como exemplo o caso do Rei dos Elfos e a constituição de um mito literário com base no oral/popular: do Faustbuch ao Fausto de Goethe. Buscou-se fazer uma reflexão acerca do próprio processo de literarização, a partir de histórias contadas através da transmissão e transformadas em literatura para, por fim, ser possível analisar as múltiplas adaptações de Fausto para a literatura infantojuvenil contemporânea. / Traditionally, literary studies theorists have given little focus to oral texts for believing in scripture as the only source of artistic texts with theory disparaging thus the historical value and the very character of oral literature. The same happens with the literature focused on the infant-juvenile public that, despite winning the publishing market, still finds it difficult to get to the list of books accepted by the literary canon. Through adaptations and translations are giving opportunities about the approach of the young readers of classic works, whose languages and chronological and social distance configure deterrent factor of their reading. This paper was intended in discussing how was the transition from folk / oral literature to the canonical literature, taking the example of the King of the Elves and the establishment of a literary myth based on oral / folk: the Faustbuch to Goethes Faust. We tried to make a reflection on itself literature process from stories that were told through the transmission and transformed into literature to finally be possible to analyze the multiple adaptations of Faust for contemporary children and youth literature.